My father died when I was nine and a half. We were on relief for two years. They call it welfare now, but it was relief then... I never forgot the generosity of New York.
New York has always been a place where it is possible to have memories without the experience that conventionally precede them.
As a kid, so many films made me want to travel... the New York of 'Ghostbusters', the Shanghai that 'Indiana Jones' swung a few punches in. However, if I had to name one film that inspires travel, it would have to be 'E.T.' - especially if I could do it by flying BMX as he did...!
I am really fascinated by human beings, fascinated! One thing I loved about living in New York was that I could sit on my stoop and just watch life happen. It was better than any kind of reality television - way more entertaining and enlightening.
My life there[in New York] was almost entirely about gay men for 30 years.
In '83 I started travelling round Europe with my slide show. It wasn't until I moved to Europe and got accepted in a big way in Berlin in the '90s that I got acceptance by the big art world in New York. I didn't really get to be known, or in the market, til '93 in New York.
When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.
In New York everyone just kind of knows each other.
I grew up always wanting to be a dancer and when I went to New York, I fell in love with the idea of performing in all ways.
Being in New York, and meeting really amazing, talented, eccentric, and bold people, and just feeling really excited about life, got me really revved up and I just felt like everything was at my fingertips - that I could try anything. I really felt invincible. It was such a shift.
There's been so many, I think [Lucas Goodman and I] share this, but for us, Afropunk was a really big moment just because it was in New York.
We had spent a lot of time in London [with Lucas Goodman], which has been amazing, but also it was kind of a homecoming and we felt so surrounded by a specific community of people who are just so New York, so unapologetically themselves and so creative.
We've actually seen Black man murders [in] many a major city in the United States - New York City, St. Louis, Missouri, from Cleveland to Baltimore. It was those sorts of incidents that were very much prevalent in the forefront of that jury's conscience that allowed them to believe that this man [O.J. Simpson] could have been set up.
Her sister, Holly McGhee, is an agent, and she's my agent in New York. She's Alison's agent too. Even though Alison lives here in Minneapolis, I met Alison through Holly, when Holly came to Minneapolis to visit Alison.
In 1925 - 27 the revolution in China was destroyed by the false revolutionary strategy of the Stalinist faction. To this last question I consecrate my book, Problems of the Chinese Revolution (issued by the Pioneer Publishers, New York 1932).
We are still learning how exactly the Earth reacts to increased CO2 and other greenhouse gases. We know it leads to warming seas which are melting the North and the South Poles, rising and starting to swallow entire coastal areas in the US and elsewhere, as the New York Times article documents.
Harkening back to a story about my grandfather, I was lucky to attend a great high school in New York, Bronx High School of Science, which has produced more Nobel prize winners than any other high school in America.
I got to carve through the streets of New York's financial district and discover the awesome feeling of being part of a system where, the harder you worked, the more of those scarce resources you earned! I never looked back.
I was more tuned into the assassinations, the riots that were going on, like in Watts, and, in fact, my summer before my senior year in high school I went on the Experiment in International Living to Sweden, yes, with a group of students , you know, leisurely discussion over the summer about, you know, where we were going to go with our lives, and how did you how did, you know, being a born-again Christian mesh with being, you know, a socialist from New York.
How many more people have to die or be afraid or be injured in Chelsea, New York, Erin, for us to wake up?
I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.
I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.
There's a team of filmmakers who follow me in the streets when I'm finding these models, to give me a sense of legitimacy to a casual stranger. This is New York City. No one's going to follow you back to your studio.
People who - and I think that's been a huge education for me. I think it's a - it's a privilege to be able to meet such a broad cross-section of New York and increasingly the world, and to get a feel of how people respond to visual culture.
Atlanta is not like New York, where everybody piles into one place.
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